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SW - Star Wars

Anyone ever noticed how their lightsaber blades change at 0:40?
 
The Scribbling Man said:
Do you mean that yellow flash? That's always bothered me. I can't remember if it's on every version or which versions it's on.
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No. the blades themselves have been switched. Obi-wan has a red blade, Vader has a blue blade. It happens mid way through that shot. When the blades connect the colors swap. You can clearly see where Obi-Wan's hands are lined up with the red, and Vader's are lined up with the blue.
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Wow! Is that a 2004 recomp mistake, or does the original shot do that as well?
 
The Death Star II assault from RotJ is arguably the greatest ever sustained achievement of practical FX, that's never been topped IMO but what took a whole team of ILM wizards months/years to complete, working beyond the bleeding edge of what is possible, on million dollar tech, is now doable by a guy on youtube, with a free program (blender), to surprisingly close to the same level of FX quality:

 

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Star Wars: A New Hope- Reimagined on Earth in the 1880's

 
Random Star Wars thought: if Lucasfilm can't put together a new movie for several more years, maybe they should theatrically re-release the OT in 3D? (The thought of those fans who reluctantly trudged to theaters to see Phantom Menace in 3D, fearing that if they didn't do so, they wouldn't get to see a 3D OT, only for the Disney acquisition and everything else to follow, will never not be funny to me.)
 
This is completely AI generated :oops: It's quite possible that within 10-20 years, AI will be able to make an entire movie like this....
 
Thanks to everyone sharing all those videos! I hadn't seen a lot of these.

Shifting topics a bit: I’ve been thinking for a little while now that it would be interesting to edit (or see someone do an edit) of the Star Wars movies that’s more musically consistent.

I realize this may sound surprising, as the film series has arguably the most satisfying, consistent, and cohesive score of all time. (Perhaps only Howard Shore’s work on LotR and the Hobbit movies give it a run for its money.) Many cues are instantly recognizable even to people who don’t study film music. Yet as with any other work, particularly one done over a long period of time, there are inconsistencies and areas for improvement. For instance:

--John Williams wrote a new Han Solo theme for John Powell’s score for the 2018 film Solo. Han had never had a theme before this, so it would be nice to find places to add it through the earlier films, even if just a touch here and there. Williams also composed a new Obi-Wan theme for the recent Disney+ series (although other composers worked on the episodes). Again, it would be great to find places to put that in the earlier productions featuring the character.

--Naturally, since Williams wrote new music for the prequels (as he should), they aren’t referenced or quoted in the already-existing films that take place later. Adywan already addressed this by adding “Battle of the Heroes” to the Ben/Vader fight in ANH. It might be fun to see more touches of the other movies added here and there.

--I recently learned that the droids have their own motif. It pops up a few times in Empire (YouTube link below), but Williams dropped it for some reason after that. While I wouldn’t want to second-guess him in an official production (more on that in a minute), this may be a case where some things can be added for fun just to see how they play. In particular, I’m picturing the droids’ first meeting in Phantom Menace and the moment where Threepio “meets” Artoo for the first time before having his memory restored in Rise of Skywalker.


--Perhaps the biggest point: Williams hasn’t always been happy with what filmmakers or studios did with his final project, as revealed in behind-the-scenes information that’s come to light. For instance, if I remember what I read correctly, Lucas lifted a few cues directly from Phantom Menace and put them in Attack of the Clones and Revenge of the Sith despite Williams’ objections.

Williams also didn’t think Yoda’s theme fit the moment in Rise of Skywalker where Luke lifts the X-wing out of the lake, but he was overruled by Abrams and by Disney (per a DVD documentary). Early reports indicated that Williams musically quoted all previous eight episodic films in his score for Skywalker, including “Duel of the Fates” (a new arrangement of which can be heard in one of the trailers), but the final product only features OT and sequel music, suggesting that a lot of what he wanted got cut.

Based on what we know about Yoda’s theme, other choices in that film suggest that Williams was forced to make compromises to keep others happy. “Binary Sunset”/the Force theme is layered over many scenes where it makes little sense, such as the middle of an action scene where a Star Destroyer is blowing up, and over a scene of many characters (most non-Force users) celebrating near the end. Luke and Leia’s theme plays over Lando’s meeting with ex-stormtrooper Jannah, apparently as reference to the implication that they’re related, but Luke and Leia’s theme have notes that apply directly just to them, and Lando already has music associated with him that isn’t used here. If his hands weren’t tied, it seems likely that Williams wouldn't have made choices that seem, on a certain level, sloppy. It felt like the studio wanted to push nostalgia via the music and didn’t care if it didn’t fit together.

Certain puzzling statements by Williams make sense if the above is true. When returning to score Obi-Wan’s theme earlier this year, his stated reasoning was that he never got to write a theme for Ben/Obi-Wan, since he died too early in the original film. On the face of it, the statement seems absurd. Williams has said repeatedly since the 1970s that “Binary Sunset”/the Force theme is Obi-Wan’s theme, and Williams also got to score three prequel movies where the character was very much alive, starring the same actor as the Disney+ series, so he had plenty of time to write music for Obi-Wan if he didn’t have any. However, if Williams felt that his musical legacy had been tainted by Rise of Skywalker, then I could see him wanting to end on a higher note (but stating it in a diplomatic way for Disney’s sake). To be fair, “Binary Sunset” may have become too associated with the Force and the Jedi in general anyway, problems with Rise of Skywalker aside.

Thus, if Williams thinks there’s room for improvement here and there, it’s not outrageous to think that fan editors can make some changes as well.

A challenge here is that (if I remember what others have said in the past correctly) the Star Wars movies don’t feature a single clean channel with just the score, so removing or adding in pieces of music would be very difficult unless there’s already no music in that scene. Another challenge is that Williams’ unreleased music remains, well, unreleased, so any substitutions with different arrangements would have to come from other musicians. Admittedly, fans have released a lot of such music, so this problem may not be insurmountable.

Does anyone else think there’s something worthy or interesting about revisiting the music of these movies?
 
Re: this weekend's announcements, it occurs to me there may be a kind of grand irony at play here: when Filoni was starting out, and even getting into the Rebels timeline, he was doubtless barred from doing series/stories about Luke, Leia, and Han because those characters were too important for mere animation. (Yes, I know that there's a Rebels episode featuring Leia.) So instead, he worked with his characters Ahsoka and Ezra, and kept working with them... with the result being that not only do they have far more total canon screen time than Luke/Leia/Han, Ahsoka is now poised to eclipse their screen time in live action, too. As for Luke/Leia/Han, when the franchise did use them again, they did so only to discard them fairly quickly.

So, we've got a case where the classic, "important" characters are limited to books and comics, while the "secondary" characters are starting to not only dominate the Disney+ series, but they're heading for the big screen themselves. It's... kinda wild. :oops:
 
That's an interesting thought and seems to be what has happened. I think I'm Star Wars fatigued. Hearing some of the complaining about the Ahsoka trailer and the other shows I'm realizing I just don't care enough to get riled up about it. It's all fake anyway. If it tells a good story then I'm fine with the new direction. I never cared for Heir to the Empire, thought it was boring. If they can use it as a reference and spruce it up a bit I'm fine with it. Disney is writing new stories and borrowing heavily from the Legends stuff. They seem to be trying to at least pull in the stories the purists want, but they can't unless they are willing to retcon and introduce new actors for Luke, Han and Leia. Personally I think they could easily do a Legends universe with new actors and keep doing what they already are and be fine. Sure it would confuse some, but they already do it with comics If I understand correctly. Cast Sebastian Stan as Luke, that girl who I hope is Leia from Andor as Leia and reprise Ehrenreich and Glover as Han and Lando respectively and have them drive the Legends timeline OR just have them jump in to the current storyline, then bring us up to the tragedy of the New Jedi Order that causes Luke to cut himself off from the force. If they could show that storyline in a compelling way that outlines why Luke would do what he has done I'd be ok with the way things have panned out. I've never cared for the idea that one family is the royalty in the force and the galaxy. The universe is too large for a microcosmic amount of people to have that much influence on it without them being some form of deity incarnate. Ahsoka looks like it's moving in a direction that I'm at least interested to see. With Kenobi being cancelled it also looks like Disney has also planned to focus on tangible aesthetics that mirror the Mandalorian and Andor. That alone is a positive step. Anyway, that's a lot of typing for something I said I didn't care about 😅
 
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